Around mid-1928, Guillermo Laborde painted a portrait of his friend, critic Luis Eduardo Pombo, in a large canvas, which came to be considered one of the greatest examples of planar painting, due to its powerful figuration and the bold use of color. “Croma VII” multiplies linearly in space each of the colors featured in the work —through the hand of restorer Endhardt. By eliminating figuration, only materials, formats, medium and color remain, thus reviving the old conflict between figuration and abstraction.